350:
to be put on exhibition at The
Pennsylvania Academy of the Fine Arts. John Wayles Eppes (1773–1823), Thomas Jefferson's son-in-law, was one of the prominent men who visited the Peales' studio in Washington. He asked her to paint a miniature of him, and suggested that Charles Willson Peale time his sittings with hers. On April 7, 1819, Anna had returned to Philadelphia from Washington and was deluged with work. She wrote to her cousin Titian Ramsay Peale (1799–1885): "I have so much work to do that I hardly know what to do with myself and am looking out the window...While sitting at my painting this afternoon--Mr. Sully came down to give us tickets and invitations from Mr. Calhoun to attend his anatomical lectures as relating to the arts--Sally and myself ... were much interested in a lecture on the human skull."
186:
annual exhibition, two years after her father showed his last miniatures there. This was a signal to the public that Anna would assume commissions for portrait miniatures that her father would henceforth decline. But these expectations proved to be unrealistic when the War of 1812, fought mainly at sea, moved closer to home. On August 24, British troops marched into
Washington, D.C., and within 24 hours systematically torched major government buildings. As the British advanced on Baltimore, the annual exhibition at the Pennsylvania Academy had just concluded. Twelve years later, in 1824, Anna and her sister
306:
415:
458:
237:
258:, an 1817 watercolor on ivory, was one of several works that launched Anna Claypoole Peale's reputation, circa 1817. The figure appears in an atmospheric background that is unlike the cloudy skies typical of neoclassical portrait miniatures. Rather than exploring the translucency of the ivory to render skin tones, Peale used dark rich colors and glazing to resemble the effect of oil paints, and this became the hallmark of her style.
31:
295:
411:
of delicate color work as others Anna was producing at the time, it is suspected that
Charles’ letter caused her to leave the painting unfinished. The work was also never given to the Robinsons, but stayed in Anna's studio. Regardless of its possibly unfinished state, this miniature remained an example of the artist's superb handling of color.
385:
273:, as well as an ambassador, scientists, and theologians. Numerous men and women from Philadelphia, Boston, Baltimore, Washington and Richmond Virginia, including many businessmen and their wives, also became sitters. Peale sometimes exhibited under the names Mrs. Staughton and Mrs. Duncan as well as Anna Claypoole Peale.
912:
319:
Anna's style was influenced by her father, who taught her how to skillfully blend pigments to control color density with watercolors on ivory. However, she adjusted this technique to develop her own style. Another familial influence on Anna's work most likely came from her cousin, Titian Ramsay Peale
185:
In 1811, at age 20, Anna participated in the first exhibition at the
Pennsylvania Academy of the Fine Arts, which was also her first major exhibition. There, she exhibited a still life in oils. Three years later, in 1814, she exhibited her first group of three miniatures at the Pennsylvania Academy's
410:
Anna's portrait of
Rosalba was intended to be a gift to a married couple, the Robinsons. However, after hearing this, Charles Willson Peale wrote to his family and questioned the motives of his granddaughter's portrait being given to a married man. Because this portrait does not have the same degree
349:
In
November 1818, Anna accompanied her aging uncle Charles Willson Peale and his wife Hannah Peale on a painting expedition to Washington, D.C. The mission of this trip was to promote Anna's “potential for commercial success,” to seek commissions and to produce portraits to send back to Philadelphia
330:
This commissioned portrait of
Harriet Girard Lallemand in 1818 was a stepping stone for Anna into a successful career as a portrait artist. As is common in her style, this work is mainly respected for its mastery of color; “heightened by the transparent blue shadows of reflected color under the chin
250:
The United States experienced an increase in wealth during the 19th century, a change that broadened the clientele for miniatures. In addition, Anna's training under her father was advantageous to her because the miniature craft was traditionally acquired slowly and in a master/apprentice capacity.
153:
portrait artist, painting in his studio to learn the art form, "hours and hours at a time watching James progress. He took great pains in teaching her, pointing out the peculiar touches that produced his best efforts by giving a charm to the expression". Her entrepreneurial inclinations were evident
285:
Along with Anna's dedication, her uncle
Charles Willson Peale assisted in her early career. He promoted her potential for commercial success, and sought commissions for her. Charles once said, “Her merit in miniature painting brings her into high estimation, and so many Ladies and Gentleman desire
220:
Anna married
William Staughton on August 27, 1829, who died in December 1829, in Washington, D.C. After his passing, she returned to Philadelphia to continue her studio portrait practice. Eleven years later, in 1841, she married General William Duncan, and retired from painting shortly thereafter.
177:
This portrait communicates the artist's pleasure in the act of painting, which is revealed in a lambent play of light on the figure. The subject holds a book on which the artist's name is substituted for the title on the cover. From about 1810, Peale's paintings are generally signed, and as the
364:
Anna's portrait of
Jackson is now housed at Yale University Art Gallery in New Haven, Connecticut. She positioned Jackson low on the ivory against a turbulent, cloud-filled sky, handled like a theatrical backdrop evoking past battles. When she painted the miniature in 1819, Jackson as making a
429:
which is regarded as one of the high points of her oeuvre. She completed another portrait of an extended member of the Peale clan in 1824, Abraham Sellers (Rosenbach Museum & Library, Philadelphia). Throughout her later career, Anna continued to exhibit artwork separate from her miniature
281:
Anna was noted as someone who applied herself to her work with diligence and ambition. She developed a degree of precision in her work which enabled her to contribute to supporting her parents James and Mary. As early as 1805, at age 14, she sold her first paintings, which were two oil paint
406:
In 1820, Anna painted a portrait of her cousin Rembrandt Peale's daughter, Rosalba Peale. The miniature of Rosalba was an experiment to break away from oval miniatures and work with a three quarter, half-length pose with props of tables and drapery. This increase in size makes the familial
320:(1780–1798). When she was a small child, Titian was researching and writing about techniques for transferring images onto ivory. After examination, it was found that Anna used similar techniques on her own paintings to help watercolor adhere to ivory.
453:
After a long career, Anna Claypoole Peale was the last miniature painter in an unbroken line of artists in the Peale family. Her career ended circa 1842, coinciding with the decline of the portrait miniature in the United States.
357:(1759–1831) in the White House during his presidency. The locations of these paintings are currently unknown. During their time in Washington, Anna and Charles also had the opportunity to paint the portrait of Major General
495:
In Baltimore on September 30, 1822 was the first advertisement of “FIRST ANNUAL EXHIBITION OF Sculpture, Paintings, Drawings, Engravings, &c.”, an exhibit that Anna's work was included in, as written by Rubens
169:(PAFA). Anna served a five-year apprenticeship with her father, in whose studio she was later joined by her sisters Sarah Miriam and Margaretta Angelica. Anna must have been about sixteen when she painted
217:
Both Peale brothers believed in pushing their children toward artistic careers. James Peale and Charles Willson Peale both had influential standing in the lives of their children, nieces and nephews.
492:
1818 Anna Peale had critical recognition of her work shown at the PAFA. Afterwards, Charles Willson Peale wrote, "Anna Peale is of the first reputation in her line and has an abundance of sitters”".
206:, her uncle, was an important figure in the introduction of miniature painting in the American colonies. Her father also contributed to the evolution of the practice. Her sisters, Sarah Miriam,
499:
1823 Anna Peale exhibited two portraits at the Peale Museum in Baltimore. These two portraits were reproductions of Jean-Baptiste Duchesne's paintings His Lady and Napoleon After Duchesne.
323:
Praise for her miniature work started as early as 1812, though she didn't exhibit until 1814. Most critiques focused on her adept abilities with color and capturing a sitter's likeness.
989:
403:
to attend 15 anatomical lectures by Mr. Calhoun with her sister Sarah Miriam. This series of anatomical studies assisted her already successful portrait work in the decade to follow.
157:
Under her father's guidance, Anna began studying portraiture, and was able to capture viable likenesses of her sitters. Her father was likely encouraged to train Anna by his brother
1499:
286:
to sit for her that she frequently is obliged to raise her prices.” Anna's brother also assisted her in her early success by accompanying her on her trip to Boston.
149:(Sally) (1800–1885) and Eleanor. Anna was the only child to carry the Claypoole name, and used it throughout her career. From a young age Anna watched her father, a
137:(1749–1831) and Mary Chambers Claypoole Peale (1753–1829). Anna was the fourth of six children, and the third daughter. Her siblings were: Jane Ramsay (1785–1834),
505:
1824, Anna Peale showed another reproduction at the Pennsylvania Academy of the Fine Arts, of Jean-Baptiste Isabey's Miniature Portrait of Napoleon after Isabey.
1504:
508:
1829, Anna Peale exhibited her painting Beatrice Cenci after Guido Reni at The Pennsylvania Academy of the Fine Arts, and again in 1831 at the Boston Athenaeum.
982:
1509:
368:
While attending President Monroe's New Year's levee, Anna continued to expand her clientele for commissions. Anna accompanied Kentucky Senator Colonel
1270:
341:
In the summer of 1818, Anna had to take a break because of severe inflammation of her eyes. However, she returned to painting the following November.
1469:
975:
166:
114:
542:, and was the first public exhibition of art centered upon female empowerment. One of the rooms in it, Dining Room, by Beth Bachenheimer,
925:
316:
Anna Claypoole Peale was known to have painted at least one hundred and forty miniatures, still lifes, landscapes and portraits in oils.
1484:
948:
935:
793:
768:
726:
957:
214:
were accomplished artists as well: Sarah Miriam as a portrait painter, and Maria and Margaretta Angelica as still life painters.
943:
842:
442:: "dress extremely well finished...but the face appeared as if emerging from a murky atmosphere". Then in 1829, she exhibited
872:
1326:
326:
From 1817 to 1818 Anna experienced much success in her career. This period is marked by a work now owned by PAFA titled
1350:
1422:
829:
The Selected Papers of Charles Willson Peale and His Family: Volume 4 Charles Willson Peale: His Last Years 1821-1827
570:, utilizing the efforts of seven women to complete. It is meant to express a generous, bountiful and romantic aura.
1309:
1207:
1076:
952:
927:
1051:
502:
1824 Anna Peale was honored as an academician at the Pennsylvania Academy of the Fine Arts, Philadelphia, PA, US.
464:, 1820, watercolor on ivory on a gilt metal locket with red leather case, framed: 7.1 x 6 cm (2 3/4 x 2 5/16 in.)
211:
142:
1479:
1121:
335:
about Anna's work, “I saw one she had done of a gentleman in which the colouring was of superior excellence”.
1126:
1116:
396:
162:
1302:
1101:
1081:
474:
372:
to the levee. The colonel later sat for one of her portraits. After the levee, Anna boarded with Reverend
369:
354:
305:
270:
1474:
1410:
1161:
967:
203:
158:
1494:
1489:
1278:
1176:
539:
434:'s Miniature Portrait of Napoleon after Isabey. In 1828 she exhibited some of her miniatures at the
431:
228:(1807–1872), James G. Peale (1823–1891), Washington Peale (1825–1868) and Mary V. Peale (1828–1867).
30:
1429:
1417:
1345:
1232:
1171:
1111:
1015:
1010:
414:
373:
154:
at the age of 14 when she copied two French landscapes and sold them at auction for a good price.
1380:
1091:
187:
150:
146:
110:
1020:
435:
675:
587:
1373:
1333:
1222:
789:
764:
722:
236:
1356:
1181:
1146:
1141:
1106:
1096:
1046:
1036:
961:
917:
932:
489:
1814, Anna Peale exhibited her first group of three miniatures at PAFA's spring exhibition.
457:
1260:
1237:
1186:
1066:
939:
551:
531:
353:
Between mid-November 1818 and February 1819, Anna and her uncle both painted portraits of
332:
225:
1156:
473:
On Christmas Day, at age 87, Anna Claypoole Peale died in Philadelphia and was buried in
1434:
1243:
1227:
1131:
1056:
1041:
443:
358:
331:
that give definition to the features”. In 1818, Charles Willson Peale wrote to his son
266:
376:(1779–1852) and his wife Elizabeth, and produced portrait miniatures of them as well.
244:
202:
Anna's success in portraiture followed generations of portrait artists in her family.
1463:
1361:
1166:
1151:
1061:
555:
282:
reproductions of Vernet landscapes, earning her $ 30—a considerable sum at the time.
395:
Between 1819 and 1829, Anna produced numerous miniatures. In a letter Anna wrote to
294:
1446:
1398:
1368:
1338:
1314:
1191:
1136:
1086:
1071:
850:
719:
The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts 1807-1870
547:
543:
527:
523:
486:
1811 Anna Peale made her first appearance at PAFA, exhibiting a still life in oils.
426:
400:
262:
191:
130:
126:
1441:
1390:
1321:
1297:
1250:
1217:
207:
138:
134:
182:, an acknowledgement of her mother's family, the Claypooles, to her signature.
101:(March 6, 1791 – December 25, 1878) was an American painter who specialized in
1212:
907:
559:
518:
447:
106:
998:
338:
A rose in the sitter's hair became a motif in Anna's work during the 1820s.
384:
361:(1767–1845), who later became the seventh president of the United States.
1405:
1255:
407:
controversy that surrounded the creation of this work even more curious.
102:
558:, has among other things a mural, based on a 19th-century still life by
1394:
610:. The Detroit institute of the Arts & Wayne State University Press.
535:
662:
Legacy of Ivory: Anna Claypoole Peale's Portrait Miniatures, Volume 64
456:
413:
383:
304:
293:
235:
843:"Madame Lallemand | PAFA - Pennsylvania Academy of the Fine Arts"
399:
in April 1819, she explained that she had been given tickets by
971:
702:
Hirshorn, Anne Sue (February 2002). "Portraits in Miniature".
626:
Hirshorn, Anne Sue (February 2002). "Portraits in Miniature".
450:
not only at PAFA, but also, in 1831, at the Boston Athenaeum.
178:
artist adapted a professional persona, she added the initial
224:
Anna had no children. She did have four nieces and nephews:
534:, co-founders of the California Institute of the Arts (
608:
The Peale Family Three Generations of American Artists
562:, displayed on a wall behind the dining room table.
430:
portrait business. In 1824 Anna exhibited a copy of
1287:
1269:
1200:
1029:
125:Anna Claypoole Peale was born on March 6, 1791, in
113:, were the first women elected academicians of the
86:
78:
62:
43:
21:
261:Some of Anna's notable sitters included President
786:The Peale family: Creation of a Legacy, 1770-1870
165:, co-founded the first American art academy, the
526:installation and performance space organized by
697:
695:
831:. New Haven and London: Yale University Press.
721:. Madison, CT: Sound View Press. p. 162.
194:to the Pennsylvania Academy of the Fine Arts.
983:
8:
1500:Pennsylvania Academy of the Fine Arts alumni
365:sweep though the country, hailed as a hero.
440:Mrs. Judson, wife of the Burmese Missionary
990:
976:
968:
749:. Philadelphia: Frank S Schwarz & Son.
29:
18:
438:. A critic commented on her portrait of
579:
522:(January 30 – February 28, 1972) was a
425:In 1822, Anna completed a portrait of
822:
820:
566:is the most collaborative project in
167:Pennsylvania Academy of the Fine Arts
115:Pennsylvania Academy of the Fine Arts
7:
1505:19th-century American women painters
813:. New York: Garden City. p. 95.
740:
738:
655:
653:
651:
649:
647:
645:
643:
641:
639:
637:
621:
619:
617:
601:
599:
597:
141:(1787–1866), James Jr. (1789–1876),
761:Concise Dictionary of Women Artists
254:The gracefully precise portrait of
999:New Woman of the late 19th century
717:Falk, Peter Hastings, ed. (1988).
190:became the first women elected as
14:
1510:Burials at The Woodlands Cemetery
910:
944:Smithsonian American Art Museum
811:American Miniatures 1730 - 1850
680:Smithsonian American Art Museum
1470:19th-century American painters
809:Wehle, Harry Brandeis (1927).
763:. Taylor & Francis. 2001.
73:Philadelphia, Pennsylvania, US
57:Philadelphia, Pennsylvania, US
1:
1246:(Mary Chavelita Dunne Bright)
1385:The Case of Rebellious Susan
664:. Detroit Institute of Arts.
1351:The Story of a Modern Woman
1526:
1485:Painters from Philadelphia
1208:Elizabeth Barrett Browning
1077:Jennie Augusta Brownscombe
953:Philadelphia Museum of Art
928:Metropolitan Museum of Art
245:Metropolitan Museum of Art
1052:Sophie Gengembre Anderson
1006:
871:Peale, Anna Clay (1824).
747:A Gallery Collects Peales
606:Sellers, Charles (1967).
212:Margaretta Angelica Peale
38:, by James Peale, c. 1805
28:
1423:Mrs. Warren's Profession
1122:Wilhelmina Weber Furlong
827:Miller, Lillian (1983).
784:Miller, Lillian (1996).
745:Schwarz, Robert (1987).
290:Subject matter and style
243:, Anna Claypoole Peale,
105:miniatures on ivory and
92:William Duncan 1841-1864
90:William Staughton, 1829;
1127:Elizabeth Shippen Green
1117:Susan Stuart Frackelton
676:"Charles Willson Peale"
660:Hirshorn, Anne (1989).
310:Portrait of a Gentleman
1303:The Portrait of a Lady
1102:Alice Brown Chittenden
1082:Julia Margaret Cameron
896:Womanhouse.refugia.net
588:"Anna Claypoole Peale"
475:The Woodlands Cemetery
465:
422:
397:Titian Ramsay Peale II
392:
370:Richard Mentor Johnson
355:President James Monroe
313:
302:
271:Richard Mentor Johnson
269:, Senator and Colonel
247:
109:. She and her sister,
1411:The Romance of a Shop
1162:Elizabeth Okie Paxton
1011:19th-century feminism
460:
417:
387:
308:
297:
239:
204:Charles Willson Peale
159:Charles Willson Peale
1306:(serialized 1880–81)
1279:Alice Freeman Palmer
1177:Jessie Willcox Smith
949:Anna Claypoole Peale
933:Anna Claypoole Peale
540:Feminist Art Program
432:Jean-Baptiste Isabey
299:Woman in a Red Dress
99:Anna Claypoole Peale
36:Anna Claypoole Peale
23:Anna Claypoole Peale
1430:George Bernard Shaw
1418:George Bernard Shaw
1346:Ella Hepworth Dixon
1233:Ella Hepworth Dixon
1172:Pamela Colman Smith
1112:Emma Lampert Cooper
1016:First-wave feminism
788:. Abbeville Press.
481:Exhibits and awards
462:Portrait of a Woman
419:Mrs. Samuel Vaughan
143:Margaretta Angelica
1381:Henry Arthur Jones
1092:Minerva J. Chapman
1001:(born before 1880)
938:2016-03-03 at the
550:, Robin Mitchell,
466:
423:
393:
314:
303:
248:
111:Sarah Miriam Peale
82:Portrait miniature
1457:
1456:
1402:(serialized 1878)
1310:Elizabeth Barrett
1296:Isabel Archer in
1223:Annie Sophie Cory
873:"Abraham Sellers"
96:
95:
66:December 25, 1878
1517:
1357:Gustave Flaubert
1288:Literature about
1247:
1182:Annie Swynnerton
1147:Elizabeth Nourse
1142:Anna Lea Merritt
1107:Elizabeth Coffin
1047:Nina E. Allender
992:
985:
978:
969:
962:Rosenbach Museum
920:
918:Biography portal
915:
914:
913:
897:
894:
888:
887:
885:
884:
868:
862:
861:
859:
858:
849:. Archived from
839:
833:
832:
824:
815:
814:
806:
800:
799:
781:
775:
774:
757:
751:
750:
742:
733:
732:
714:
708:
707:
699:
690:
689:
687:
686:
672:
666:
665:
657:
632:
631:
623:
612:
611:
603:
592:
591:
584:
436:Boston Athenaeum
171:Girl with a Book
69:
53:
51:
33:
19:
16:American painter
1525:
1524:
1520:
1519:
1518:
1516:
1515:
1514:
1480:Sibling artists
1460:
1459:
1458:
1453:
1289:
1283:
1265:
1261:Olive Schreiner
1242:
1238:Maria Edgeworth
1196:
1187:Candace Wheeler
1067:Enella Benedict
1025:
1021:Women's history
1002:
996:
940:Wayback Machine
916:
911:
909:
906:
901:
900:
895:
891:
882:
880:
870:
869:
865:
856:
854:
841:
840:
836:
826:
825:
818:
808:
807:
803:
796:
783:
782:
778:
771:
759:
758:
754:
744:
743:
736:
729:
716:
715:
711:
701:
700:
693:
684:
682:
674:
673:
669:
659:
658:
635:
625:
624:
615:
605:
604:
595:
586:
585:
581:
576:
552:Miriam Schapiro
532:Miriam Schapiro
515:
483:
471:
382:
347:
333:Rembrandt Peale
328:Mme. Lallemand.
292:
279:
234:
226:Mary Jane Simes
200:
123:
91:
74:
71:
67:
58:
55:
49:
47:
39:
24:
17:
12:
11:
5:
1523:
1521:
1513:
1512:
1507:
1502:
1497:
1492:
1487:
1482:
1477:
1472:
1462:
1461:
1455:
1454:
1452:
1451:
1439:
1427:
1415:
1403:
1388:
1378:
1374:A Doll's House
1366:
1354:
1343:
1334:Victoria Cross
1331:
1319:
1307:
1293:
1291:
1285:
1284:
1282:
1281:
1275:
1273:
1267:
1266:
1264:
1263:
1258:
1253:
1248:
1244:George Egerton
1240:
1235:
1230:
1225:
1220:
1215:
1210:
1204:
1202:
1198:
1197:
1195:
1194:
1189:
1184:
1179:
1174:
1169:
1164:
1159:
1154:
1149:
1144:
1139:
1134:
1132:Ellen Day Hale
1129:
1124:
1119:
1114:
1109:
1104:
1099:
1094:
1089:
1084:
1079:
1074:
1069:
1064:
1059:
1057:Cornelia Barns
1054:
1049:
1044:
1042:Elenore Abbott
1039:
1033:
1031:
1027:
1026:
1024:
1023:
1018:
1013:
1007:
1004:
1003:
997:
995:
994:
987:
980:
972:
966:
965:
964:, Philadelphia
955:
946:
930:
922:
921:
905:
904:External links
902:
899:
898:
889:
863:
834:
816:
801:
794:
776:
769:
752:
734:
727:
709:
691:
667:
633:
613:
593:
578:
577:
575:
572:
514:
511:
510:
509:
506:
503:
500:
497:
493:
490:
487:
482:
479:
470:
467:
444:Beatrice Cenci
381:
378:
359:Andrew Jackson
346:
343:
291:
288:
278:
275:
267:Andrew Jackson
265:and President
241:Sarah Ann Beck
233:
230:
199:
196:
122:
119:
94:
93:
88:
84:
83:
80:
79:Known for
76:
75:
72:
70:(aged 87)
64:
60:
59:
56:
45:
41:
40:
34:
26:
25:
22:
15:
13:
10:
9:
6:
4:
3:
2:
1522:
1511:
1508:
1506:
1503:
1501:
1498:
1496:
1493:
1491:
1488:
1486:
1483:
1481:
1478:
1476:
1473:
1471:
1468:
1467:
1465:
1449:
1448:
1443:
1440:
1437:
1436:
1431:
1428:
1425:
1424:
1419:
1416:
1413:
1412:
1407:
1404:
1401:
1400:
1396:
1392:
1389:
1386:
1382:
1379:
1376:
1375:
1370:
1367:
1364:
1363:
1362:Madame Bovary
1358:
1355:
1353:
1352:
1347:
1344:
1341:
1340:
1335:
1332:
1329:
1328:
1327:The Awakening
1323:
1320:
1317:
1316:
1311:
1308:
1305:
1304:
1299:
1295:
1294:
1292:
1290:the New Woman
1286:
1280:
1277:
1276:
1274:
1272:
1268:
1262:
1259:
1257:
1254:
1252:
1249:
1245:
1241:
1239:
1236:
1234:
1231:
1229:
1226:
1224:
1221:
1219:
1216:
1214:
1211:
1209:
1206:
1205:
1203:
1199:
1193:
1190:
1188:
1185:
1183:
1180:
1178:
1175:
1173:
1170:
1168:
1167:Emily Sartain
1165:
1163:
1160:
1158:
1155:
1153:
1152:Violet Oakley
1150:
1148:
1145:
1143:
1140:
1138:
1135:
1133:
1130:
1128:
1125:
1123:
1120:
1118:
1115:
1113:
1110:
1108:
1105:
1103:
1100:
1098:
1097:Émilie Charmy
1095:
1093:
1090:
1088:
1085:
1083:
1080:
1078:
1075:
1073:
1070:
1068:
1065:
1063:
1062:Cecilia Beaux
1060:
1058:
1055:
1053:
1050:
1048:
1045:
1043:
1040:
1038:
1037:Louise Abbéma
1035:
1034:
1032:
1028:
1022:
1019:
1017:
1014:
1012:
1009:
1008:
1005:
1000:
993:
988:
986:
981:
979:
974:
973:
970:
963:
959:
956:
954:
950:
947:
945:
941:
937:
934:
931:
929:
926:
924:
923:
919:
908:
903:
893:
890:
878:
877:The Rosenbach
874:
867:
864:
853:on 2018-03-08
852:
848:
844:
838:
835:
830:
823:
821:
817:
812:
805:
802:
797:
795:9780789202062
791:
787:
780:
777:
772:
770:9781579583354
766:
762:
756:
753:
748:
741:
739:
735:
730:
728:0-932087-03-5
724:
720:
713:
710:
705:
698:
696:
692:
681:
677:
671:
668:
663:
656:
654:
652:
650:
648:
646:
644:
642:
640:
638:
634:
629:
622:
620:
618:
614:
609:
602:
600:
598:
594:
589:
583:
580:
573:
571:
569:
565:
561:
557:
556:Faith Wilding
553:
549:
545:
541:
537:
533:
529:
525:
521:
520:
512:
507:
504:
501:
498:
494:
491:
488:
485:
484:
480:
478:
476:
468:
463:
459:
455:
451:
449:
445:
441:
437:
433:
428:
420:
416:
412:
408:
404:
402:
398:
390:
386:
379:
377:
375:
374:Obadiah Brown
371:
366:
362:
360:
356:
351:
344:
342:
339:
336:
334:
329:
324:
321:
317:
311:
307:
300:
296:
289:
287:
283:
276:
274:
272:
268:
264:
259:
257:
252:
246:
242:
238:
231:
229:
227:
222:
218:
215:
213:
209:
205:
197:
195:
193:
189:
183:
181:
176:
172:
168:
164:
160:
155:
152:
148:
145:(1795–1882),
144:
140:
136:
132:
128:
120:
118:
116:
112:
108:
104:
100:
89:
85:
81:
77:
65:
61:
54:March 6, 1791
46:
42:
37:
32:
27:
20:
1475:Peale family
1447:Ann Veronica
1445:
1433:
1421:
1409:
1399:Daisy Miller
1397:
1384:
1372:
1369:Henrik Ibsen
1360:
1349:
1339:Anna Lombard
1337:
1325:
1315:Aurora Leigh
1313:
1301:
1192:Anne Whitney
1157:Rose O'Neill
1137:Laura Knight
1087:Mary Cassatt
1072:Rosa Bonheur
892:
881:. Retrieved
876:
866:
855:. Retrieved
851:the original
847:www.pafa.org
846:
837:
828:
810:
804:
785:
779:
760:
755:
746:
718:
712:
703:
683:. Retrieved
679:
670:
661:
627:
607:
582:
567:
563:
548:Karen LeCocq
544:Sherry Brody
528:Judy Chicago
524:feminist art
517:
516:
472:
461:
452:
439:
427:Rubens Peale
424:
418:
409:
405:
401:Thomas Sully
394:
389:Rubens Peale
388:
367:
363:
352:
348:
340:
337:
327:
325:
322:
318:
315:
309:
298:
284:
280:
277:Early career
263:James Monroe
260:
255:
253:
249:
240:
223:
219:
216:
201:
192:academicians
188:Sarah Miriam
184:
179:
174:
173:, circa 1807
170:
163:William Rush
156:
147:Sarah Miriam
131:Pennsylvania
127:Philadelphia
124:
98:
97:
68:(1878-12-25)
35:
1495:1878 deaths
1490:1791 births
1442:H. G. Wells
1391:Henry James
1322:Kate Chopin
1298:Henry James
1251:Sarah Grand
1228:Ella D'Arcy
1218:Kate Chopin
879:. 1954.1606
564:Dining Room
380:Late career
256:Little Girl
135:James Peale
107:still lifes
1464:Categories
1213:Mona Caird
883:2021-03-10
857:2018-03-07
685:2018-03-07
574:References
568:Womanhouse
560:Anna Peale
519:Womanhouse
448:Guido Reni
345:Washington
161:who, with
121:Early life
50:1791-03-06
1271:Educators
151:miniature
87:Spouse(s)
1406:Amy Levy
1256:Amy Levy
936:Archived
704:Antiques
628:Antiques
103:portrait
1435:Candida
1395:novella
1201:Writers
1030:Artists
960:at the
958:Article
951:at the
942:at the
706:: 83–4.
536:CalArts
1450:(1909)
1438:(1898)
1426:(1893)
1414:(1888)
1387:(1894)
1377:(1879)
1365:(1856)
1342:(1901)
1330:(1899)
1318:(1856)
792:
767:
725:
554:, and
513:Legacy
496:Peale.
446:after
421:, 1838
391:, 1822
312:, 1832
301:, 1821
232:Career
210:, and
198:Family
630:: 83.
469:Death
208:Maria
139:Maria
133:, to
790:ISBN
765:ISBN
723:ISBN
530:and
63:Died
44:Born
1432:'s
1420:'s
1408:'s
1383:'s
1371:'s
1359:'s
1348:'s
1324:'s
1312:'s
1300:'s
1466::
1444:'
1393:'
1336:'
875:.
845:.
819:^
737:^
694:^
678:.
636:^
616:^
596:^
546:,
538:)
477:.
129:,
117:.
991:e
984:t
977:v
886:.
860:.
798:.
773:.
731:.
688:.
590:.
180:C
175:.
52:)
48:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
